FRED Film Radio - English Channel

PODCAST | Angelo Acerbi interviews Marusya Syroechkovskaya, director of the film How To Save A Dead Friend.

Marusya Syroechkovskaya has filmed for 12 years her relationship with her lover then husband, until his success in terminating his life. The background of Russian in years 2000 and the non-existence of a potential future for the 20something generation is the canvas which this film lays on. She tells us about the project and its transformation form personal diary to universal public narration.

How To Save A Dead Friend: Marusya is 16 and, like many Russian teenagers, is determined to end her life. Then she meets her soulmate in another millennial, Kimi. They spend a decade filming the euphoria and anxiety, the happiness and misery of their youth, muzzled by a violent and autocratic regime in the midst of a “depressed Russia”. This film is a cry from the heart, a tribute to an entire silenced generation.

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PODCAST | Angelo Acerbi interviews Manuela Martelli, director of the film 1976.

Manuela Martelli at her first film brings us back to the worst year of Chilean history, under the Pinochet dictatorship, 1976. She uses the character of an upper class woman who cannot help but doing choices that could be dangerous and upsetting for her safe world. She took inspiration from Martelli’s grand mother’s life, as she tells in this talk with Angelo Acerbi.

1976: Chile, 1976. Carmen heads off to her beach house to supervise its renovation. Her husband, children and grandchildren come back and forth during the winter vacation. When the family priest asks her to take care of a young man he is sheltering in secret, Carmen steps onto unexplored territories, away from the quiet life she is used to.

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PODCAST | Angelo Acerbi interviews Joao Pedro Rodriguez, director of the film Will-O’-The-Wisp.

Joao Pedro Rodriguez had some fun making Will-O’-The-Wisp and we have too watching it. He talks with Angelo Acerbi about the will to make a musical, the inevitability of creating a queer film and the reason why his film is so short: a will-o’-the-wisp itself.

Will-O’-The-Wisp: On his deathbed, his royal highness Alfredo, King without a crown, is taken back to distant youth memories and the time he dreamt of becoming a fireman. The encounter with instructor Afonso from the fire brigade, opens a new chapter in the life of the two young men devoted to love and desire, and the will to change the status quo.

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PODCAST | Angelo Acerbi interviews Ali Cherri, director of the film The Dam.

Ali Cherri is a multi-faceted artist, a sculptor and also a film director for the first time. He tells us about the ideals behind the film and the intensity of the relationship with his lead actor and with the territory of the actual dam, where they shot the film.

The Dam: North Sudan, Merowe Dam. Abu Salma, a seasonal worker from Darfur, works in a traditional brickyard on the Nile, downstream of the dam. Just like his exiled companions, he spends his days in the mud, far from his loved ones and in exhausting labour. Each night, he secretly works on the erection of a structure, a tall shape made out of mud, wood, and plastic. As the mud builds over the solid skeleton of the structure, it begins to take on an almost organic-looking form. One day, as he returns from Jebel Barkal, the mystical mountain, his creation has mysteriously disappeared. Soon strange occurrences begin to take place, and Abu Salma starts to get the uneasy feeling that someone or something is watching him.

The post Ali Cherri – The Dam #Cannes2022 appeared first on Fred Film Radio.

PODCAST | Federica Scarpa interviews Dmytro Sukholytkyy-Sobchuk, director of the film Pamfir.

Dmytro Sukholytkyy-Sobchuk presents his first feature film at the Quinzaine de Réalisateur: Pamfir, which tells of a man who returned home and has to deal with his past to give his family a future. An exciting film, made with long sequence shots that look like choreographies and reveal the long construction work behind the film, as Dymitro himself tells us in this interview.

Pamfir: Western Ukraine, on the eve of a traditional carnival. Pamfir returns to his family after months of absence. Their love is so unconditional that when his only child starts a fire in the prayer house, Pamfir has no other choice but to reconnect with his troubled past to repair his son’s fault. He will be taken on a risky path with irreversible consequences.

The post Dmytro Sukholytkyy-Sobchuk – Pamfir #Cannes2022 appeared first on Fred Film Radio.

PODCAST | Chiara Nicoletti interviews Kristoffer Borgli, director of the film Sick of myself.

It has been defined an anti-rom-com, Sick of myself by Kristoffer Borgli, screening at the 75th Festival de Cannes in the Un Certain Regard section. The director who is LA based, reveals that this was always a Norwegian project as it needed that atmosphere to become the perfect depiction of a dysfunctional, toxic relationship. he very sad elements of the film.

Sick of myself: Signe and Thomas are in an unhealthy, competitive relationship that takes a vicious turn when Thomas suddenly breaks through as a contemporary artist. In response, Signe makes a desperate attempt to regain her status by creating a new persona hell-bent on attracting attention and sympathy.

To discover more, click here.

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PODCAST | Chiara Nicoletti interviews Kristine Kujath Thorp, actress of the film Sick of myself.

Kristine Kujath Thorp carries on her shoulder the entire unromantic comedy by Kristoffer Borgli, Sick of myself, presented at the 75th Festival de Cannes in the Un certain regard section. The actress walks us into the world and mind of her character, Signe, whose longing for affection and love lead her towards desperate choices, a trasformation. The actress explains why she would never call the film a romantic comedy and how she managed to balance the fun parts with the very sad elements of the film.

Sick of myself: Signe and Thomas are in an unhealthy, competitive relationship that takes a vicious turn when Thomas suddenly breaks through as a contemporary artist. In response, Signe makes a desperate attempt to regain her status by creating a new persona hell-bent on attracting attention and sympathy.

To discover more, click here.

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PODCAST | Angelo Acerbi interviews Ariel Esacalante Meza, director of the film Domingo and The Mist.

Ariel Escalante Meza is directing a film about pride, memories and fantastic visions with a cast made of mainly non professional actors, a very slim crew and a lot fo passion. He tells us about this intense and rewarding experience and why movies have to be about conflict to be worth.

Domingo and The Mist: The town 65-year-old Domingo lives in is being threatened by thugs hired by a developer to expel its inhabitants and pave the way for the construction of a mega highway. But his land hides a secret—the ghost of his deceased wife who visits him within the mist.

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PODCAST | Angelo Acerbi interviews Ahmer Hlelel and Ashraf Farah, actors of the film Mediterranean Fever.

When two actors like Ahmer Hlelel and Ashraf Farah meet and click, there is no other thing to do than enjoy them. They tell us how they prepare to create such a perfect comic mechanism as they offer in Mediterranean Fever, and we discover if there is a method or not…

Mediterranean Fever: Waleed (40) lives in Haifa with his wife and children and dreams of a writing career while suffering from chronic depression. He develops a close relationship with his neighbor (a small-time crook) with an ulterior plot in mind. While the scheme turns into an unexpected friendship between the two men, it leads them into a journey of dark encounters.

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PODCAST | Chiara Nicoletti interviews Lotfy Nathan, director of the film Harka.

Hakra talks about “those who remain”, writes Lotfy Nathan in the director’s notes of his film Harka, presented at the 75th Festival de Cannes in the Un Certain Regard section. The film depicts the people, in particular Ali, a young Tunisian, who remained in his country right after the Arab Spring hoping for a change. The film was supposed to be, at first, a biopic on Mohamed Bouazizi and his act of self-immolation which became the catalyst for the Arab Spring in 2010.

Harka: Ali is a young Tunisian who dreams of a better life and ekes out a lonely existence selling contraband oil on the black market. When his father dies, he is forced to care for his two younger sisters who have been left to their own devices in a house from which they will soon be evicted. As he wrestles with the sudden weight of responsibility and the injustices he faces, anger and indignation stir within Ali – that of a generation still fighting to be heard more than a decade after the revolution…

To discover more, click here.

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